An Interview with Steelpan Innovator & G-Pan Inventor Brian Copeland

Global
-
Touted by
its
supporters
as one of
the single
most
important
developments
in the last
decade for
the steelpan
instrument
- the G-pan
has received
both praise
and
criticism.
The mere
mentioning
of the G-pan
to its
detractors
will
generate a
cold shrug
of the
shoulder and
an automatic
question of
“What’s new
about it?”
“Have we not
seen this
all before?”
And in a
flash the
past
inventive
genius works
of
Anthony
Williams,
Bertie
Marshal and
Ellie
Mannette
will be brought
to the table
and
conversation.
And still
there are
others who
espouse that
the G-pan
signifies a
clear and
substantive
improvement
in focus and
documentation,
of Trinidad
and Tobago’s
invention
and
historical
relationship
to the
steelpan
instrument.

The
inventor of
the G-Pan
Dr. Brian
Copeland - in
this
exclusive
2010
When Steel
Talks (WST)
interview - moves to
explain some
of the
misconceptions
about the
instrument
and further,
its
importance
to the
future development
of the steelpan
movement.

WST- “What
has been
the initial
response
to the first
generation
of the G-Pan
family?”

Copeland
- “It was
originally
quite mixed. Some were
completely
against
the idea
for various
reasons
but mostly
because
they saw
it as an
attempt
to replace
the traditional
instrument.
Others embraced
it openly
and were
appreciative
of the fact
that at
last something
was being
done to
move the
pan industry
forward.
I was prepared
for contention
because
we are trying
to re-engineer
an instrument
that has
evolved
for over
60 years
and much
of what
has been
done has
not been
properly
documented.

The G-6Bass
was an instant
success
because
of its clean
deep sound.
We received
mixed reviews
on the early
G-Sopranos
but those
have been
recently
re-engineered
and are
correspondingly
much improved.”

WST
- “A number
of bands
included
the G-Pan
as part
of their
instrument
arsenal
in this
year’s panorama
finals.
Is this
the first
year the
G-Pan has
figured
prominently
in Panorama?”

Copeland
-
“No.
Skiffle
Bunch and
Phase 2
had G-Pans
(G-6Basses)
last year. Boogsie
was provided
with a token
Double Second
before that,
when the
G-Pans were
launched
in 2007.
However,
this is
the first
year that
G-Pans were
used for
Panorama
in such
a big way. It is also
the first
year that
they were
used on
the road.”

WST- “In the
When Steel
Talks forum
you said
the ‘G-Pans
are an attempt
to re-establish TnT’s ownership
of steelpan
technology.’
To this
end, has
Steelpan
Development
Lab - which
is led by
you at UWI
(University
of the
West
Indies)- been successful?
”

PHI
with
Rhapsody
Steel
Orchestra
on
Frederick
Street,
Carnival
Tuesday
2010.
The
truck
featured
a
mix
of
PHIs
with
mic’d
traditional
tenors
and
second
pans.
PHI
played
the
bass.

Copeland
- “Well,
let’s say
that the
TnT steelpan epicentre
is now further
strengthened,
if even
because
of the attention
given to
the G-Pans.
But this
means nothing
if the country
cannot capitalise
on the initiative. That has
not happened
as yet but
it is our
intention
to make
it a reality
because
we see this
initiative
as more
than pan
– it is
one of maturing
a nation.
In the specific
area of
steelpan,
our emphasis
right now
is on exploring
and developing
all aspects
of steelpan
technology
of which
there are
two main
components
– the control
of vibration
of steel
shells (preparing
and tuning
of pans)
and note
layout. Both are
embodied
in the G-Pan
as they
are for
the traditional
pan. However,
our R&D
also more
fully exploits
the note
layout technology,
notably
the 4ths
and 5ths
invented
by grandmaster
tuner and
pioneer
Tony Williams,
in the Percussive
Harmonic
Instrument
(P.H.I.),
the world’s
first fully
electronic
steelpan. The P.H.I.
is designed
to broaden
opportunities
to
panists
by allowing
them to
more fully
exploit
their expert
kinaesthetics
in music
performance.”

WST
- “Were
there
any
other
significant
contributors
to the
G-Pan
initiative,
and if
so would
you care
to
spotlight
them?”

Copeland
- “The inventor
of the G-Pan
is Brian
Copeland.
Its proprietor
is the Government
of Trinidad
and Tobago.
The actual
implementation
of the patented
design has
been conducted
by a team
that includes
Master Tuners
Roland Harrigin,
Birch Kelman
and, more
recently,
Denzil Fernandez. There are
others who
facilitate
the drum
manufacture
process,
including
Richard McDavid
who worked
on the CARIRI
(Caribbean
Industrial
Research
Institute)
project
years ago. There is
a research
team that
now includes
Keith Maynard
(again from
the original CARIRI project)
and Randall
Ali. Finally,
the project
has been
operated
under the
guidance
of Patent
Agent Everard
Byer and
Ronald DeFour.

WST-
“To
those who
would say:
‘What’s
new about
the G-Pan? Several
of its characteristics
have been
implemented
in one form
or another
- e.g. the Spiderweb,
the over-sized
pan, etc.’
- what would
be your
response
to them?”

Copeland
- “The
G-Pan is
a direct
consequence
of re-engineering
the traditional
pan, a 60-year
old instrument,
and consequently
it inherits
much of
its DNA
from all
that existed
before. The rest
of its DNA
chain comes
from a marriage
with technology. The G-Pan
is an attempt
to improve
upon the
design by
purposeful
redesign
of its component
parts –
chime, playing
surface
and rear
attachment
(skirt). The first
draft, the
G-Pan model
that has
been publicised,
utilises
high grade
steel, and
a thick
chime. In
later models,
more significant
changes
will be
observed.”

WST
- “Will
the value
of the G-Pan
instruments
increase
with time
- in a similar
manner as
say, a Stradivarius
trumpet
or violin
for its
owners?”

Copeland
- “This
depends
on how the
market evolves
– the first
G-Pans have
been retained
with this
in mind. Certainly,
the G-Pans
were designed
with quality
musicianship
in mind. The key
here is
to bring
value to
the owners
of G-Pans
and to rebuild
pride in
the national
community. At the same
time we
are working
to reduce
the initial
cost of
the G-Pans.”

WST
- “In a
past interview
with When
Steel Talks,
steelpan
musician
and arranger
Ray Holman
said that
he had been
part of
an experimental
process
to construct
steel pan
instruments
from a press
in the early
1970’s under
the Eric
Williams
administration.
He said
the press
mysteriously
disappeared,
along with
all related
info on
that process.
Is the G-Pan
a follow
up of that
initiative?”

Copeland
- “In a
sense, yes,
this G-Pan
Initiative
is Part
2 of the
original
CARIRI project. The press
did not
disappear
– the press
was in Europe
at the Saab
plant; there
never was
a local
one. This
was in the
early 80’s/late
70’s as
well and
the project
was conducted
at CARIRI
and included
Richard McDavid
(on this
project)
as well
as Keith
Maynard
and Clement
Imbert - all
of whom
have been
involved
in this
project
in one way
or the other. We actually
have two
of the pressed
samples
(one mysteriously
turned up
after missing
for all
those years). That project
included
the likes
of Tony
Williams
and Bertie
Marshall. Funding
was stopped
for reasons
I have not
been able
to determine
– this represents
30 years
of lost
opportunity.”

WST
- “What
limitations
of the existing
instruments
in the ‘traditional’
steelpan
family -
in your
opinion
- have the
G-pan improved
upon?”

Copeland
- “The G-Pan
is actually
a family
of steelpans
that significantly
improve
upon traditional
steelpans
which were
developed
over time
in an ad
hoc fashion.
These improvements
include:

An extension
of note
range
across
the
family
of G-Pans.
The
G-Pan
family
comprises:

The G-6Bass, which covers the 9-Bass, 6-Bass and Tenor Bass ranges

The G-3Mid which is a 3-pan covering the cello and guitar steelpan ranges

The G-Second covering the double second and double tenor ranges

The G-Soprano which more than covers the traditional tenor range. All except the G-6Bass carry a three-octave range; the G-6Bass carries a 2.5 octave range from a very low G1. The design template allows for 4-and 5-drum complements but it is felt that these will not generally be required as the ranges described adequately cover the musical spectrum

A consequent
potential
reduction
in the
minimum
number
of steelpans
required
to effectively
cover
the
steelpan
musical
range
from
eleven
to four
(the
National
Steel
Symphony
Orchestra
uses
only
4)

Rationalisation
and
minimisation
of note
layout
styles. Currently
we use
the
4ths
and
5ths
layout
on 1-,
3-,
and
6-pans
and
the
whole
tone
on the
2-pan
(a
4-pan
was
also
referred
to in
the
patent
but
not
used
in the
current
line
up)

The
use
of a
compound
design
approach
whereby
individual
component
parts
of the
instrument,
specifically
the
playing
surface,
chime
(rim),
rear
attachment
(skirt)
are
optimized
for
their
specific
function
….

A playing
surface
made
from
high
grade
steel
of which
the
three
tuners
on the
project,
Roland
Harrigin,
Birch
Kelman
and
Denzil
Hernandez,
are
high
in praise.
The
result
is an
instrument
that
has
high
musical
accuracy
and
definition,
wide
musical
range,
excellent
sound
projection
and
improved
signal
to noise
ratio,
a parameter
we have
been
using
to quantify
one
aspect
of musical
quality

The
G-Pan
incorporates
the
use
of a
variety
of techniques
for
eliminating
or reducing
annoying
non-musical
sympathetic
vibrations
(noise)
that
detract
from
the
purity
of the
musical
sound
of the
instrument.”

WST
- “Trinidad’s
National
Steel Symphony
Orchestra
(NSSO) utilizes
G-Pan instruments
exclusively
in its lineup.
Have there
been any
recordings
of the National
Steel Symphony
Orchestra?”

Copeland
-
“Yes. However,
that is
under the
control
of the NSSO
and its
line Ministry.”

WST
- “As an
organization
that has
specialized
in the art
of recording
the steelpan
instrument
and the
steel orchestra
- there
are some
areas that
are of particular
interest
to WST.
Have you
been able
to reduce
or completely
eliminate
buzzing
noises that
sometimes
emanate
from the
rims of
the instruments,
and sometimes
from the
chipping
or separation
of the chrome
from the
steelpan
itself after
plating?”

Copeland
-
“These noises
are in the
class of
the sympathetic
vibrations
referred
to above. However,
I must admit
that out
concern
has been
more with
spurious
resonances
on the playing
surface
and skirt.

The buzzing
noise from
the rim
is likely
due to the
fact that
traditional
pans have
rims that
are made
by crimping
and rolling
the playing
surface
and skirt
sheets together. These can
unravel
during the
sinking
process
and with
temperature
change. The noise
may also
be due to
material
that becomes
loose in
the space
within the
rim. This
cannot be
removed
without
damage to
the pan,
although
the loose
material
may be subdued
by injecting
the hollow
space in
the rim
with epoxy,
silicone
or other
similar
substances. G-Pans use
rolled flats
for the
rim (chime)
so this
problem
cannot occur
once a quality
weld is
used.

Chrome separation
can be controlled
by properly
cleaning
the pan
before chroming;
it is assumed
that the
chrome process
is of suitable
quality.”

WST
- “Are the
G-pan instruments
chrome-plated,
buffed or
otherwise?
And if so,
what finishing
process
is employed?”

Copeland
-
“At present
we chrome
plate the
mid and
foreground
pans. There
is one chromed
bass set
used in
the NSSO. All others
are powder
coated as
chroming
in TnT is
extremely
expensive.
Customers
can get
tuned basses
on demand.”

WST
- “Have
you tested
your instruments
in other
climates?
If so, how
have they
held up?”

Copeland
-
“We have
not yet
conducted
temperature
tests on
G-Pans.
We did carry
one to the
PASIC convention
last year
– it suffered
loss in
tune in
one note
due to handling
rather than
temperature
variation. We anticipate
slightly
improved
performance
under varying
temperatures
because
of the chime
design –
the loss
of tune
in the conventional
instrument
is because
the rolled
rim unravels
and causes
the playing
surface
to get slack.
The welded
rim we use
will not
do this.
Note however,
that steel
does expand
and contract
with temperature
so some
detuning
is expected,
but not
as much
as for the
normal pan.”

WST
- “What
is the recommended
time/duration
between
tunings,
under normal
playing
conditions
for the
G-pan?”

Copeland
-
“I am not
sure what
normal conditions
are. Most
bands do
not do much
between
Carnival
periods.
The NSSO
practices
5 days a
week, 4-5
hours a
day (used
to be 8
hours) basically
for the
entire year. We had to
touch up
the early
Sopranos
pretty often
but have
now solved
that problem.
The new
Sopranos
are really
much improved
on the early
models.”

WST
- “Have
any orders
been received
for the
G-Pan outside
of Trinidad
and Tobago?”

Copeland
-
“Yes – a
few visitors
actually
played them
either for
Panorama
or as they
were visiting
a band with
G’s. They
were impressed
enough to
place orders.”

WST
- “You mentioned
in the WST
forum that
the instruments
were not
as easily
tuned as
their original
predecessors. What makes
this the
case?”

Copeland
-
“The large
size, the
bigger octave
spread,
the fact
that the
playing
surface
material
is a slightly
thicker
than the
standard
18 gauge
and, particularly
in the case
of the bass,
the instrument
is heavier
than the
traditional
instrument.”

WST
- “Can
we
expect
Trinidad
and
Tobago
to hold
G-pan
tuning
workshops
to get
the
interested
tuners
up to
speed in
terms of
necessary
techniques
needed
to tune
and
maintain
the
instruments?”

Copeland
-
“Certainly
that is
our
intent. We held
one in
November
for
bands
who
received
G–Pans
for Beta
Testing. A good
tuner
who is
willing
to take
the
required
time
needs
little,
if any,
guidance
in
tuning
G-Pans.
There is
really
only one
very
important
rule to
follow
with
G-Pan
drums
(as is
the case
for all
pans) –
take
your
time
when
sinking!”

WST
- “Will
T&T be
offering
a degree
program
or an
accreditation
approach
that
validates
tuners
specifically
of the
G-Pan
worldwide?”

Copeland
-
“Validation
is part
of a
strategy
for
quality
control
in G-Pan
manufacture. However,
some of
the
plans we
have for rationalising
the
steelpan
industry
(for
G-pans
and
traditional
pans) is
to
provide
a
certification
mechanism
for
tuners. Clement Imbert
actually
initiated
a
Trinidad
and
Tobago
Vocational
Qualification
Certificate
(TTNVQ)
at
Levels 1
and 2 on
steelpan
manufacture
through
the
National
Training
Agency
which I
currently
chair. We also
just
started
a
workshop
on
steelpan
tuning
as part
of a
steelpan
technology
final
year
course
in
Engineering
at the
UWI. It
will run
again in
summer –
I intend
to
become a
student
then. The
workshop
is
conducted
by Denzil
Fernandez. Right
now the
main
effort
is to
increase
the core
of
quality
tuners
locally
and,
ultimately,
internationally. I
estimate
that
Trinidad
and
Tobago
would be
without
its
expert
tuners
in about
5
years.”

WST
- “Can a
non-G-pan
experienced
tuner
damage
the
instrument?”

Copeland
- “Yes,
it has
happened. But this
was more
due to
the
general
inexperience
of the
tuners
involved
and
their
unnecessary
haste in
sinking
drums. Generally
any
decent
tuner of
traditional
pans can
handle
G-Pan
tuning
with a
little
patience. The real
problem
is in
sinking
the
drums –
larger
sized
drums
are
actually
more
easily
damaged.
It is
for this
reason
that we
included
partially
sunk
drums in
our beta
testing
distribution
of
G-Pans
to
selected
bands
last
November
2009
(see
http://www.newsday.co.tt/news/0,110997.html).”

WST
- “How
can one
purchase
a
G-Pan?”

Copeland
- “We
have a
portal
at
www.panadigm.com
that
will be
up and
running
soon. At
present
our
entire
process
of drum
manufacture
and
finishing
is
manual. However,
we are
now in
the
process
of
procuring
production
machinery.
We
expect a
full
ramp up
before
September
2010
with
instruments
with
improved
finishes.”

WST
- “What
is the
wait
time
between
order
and
delivery?”

Copeland
- “At
present
we are
not
ready
for full
commercial
activity
– we
have as
yet to
get
feedback
from our
Beta
testers. Also my
last
comment
applies.”

WST
- “Have
you set
up any
licensing
agreements
yet
outside
of
Trinidad
and
Tobago
with
major
music
manufacturers?”

Copeland
- “We
are
exploring
these
right
now.”

WST
- “What
have
been the
most
difficult
challenges
faced by
the
G-Pan
family
to
date?”

Copeland
- “1.
Defending
against
those
who want
to
maintain
the
status
quo (I
call
them the
t-cells
of the
established
system)
– no-one
likes
change,
and I
guess
that it
is
necessary
to have
opposition
to
change.
However,
given
the
history
of the
pan
movement,
a
revolution
that
turned
the
music
world on
its
head, I
was
surprised
at the
level of
opposition. To them
I would
say that
we are
trying
to get
to the
next
plateau.”

“2. Lack
of
critical
mass in
the
technical
and
scientific
support
– a
problem
in any
developing
country.
In my
early
days in
steelpan
technology
I faced
outright
disdain
from
many
local
scientists
and
engineers
locally
who
baulked
at the
idea of
there
being a
subtle
elegance
in
steelpan
technology. It is
better
now, but
we do
need
more
hands on
deck.”

“3. The
supreme
hassle
of the
patenting
process.”

WST
- “Why
will the
G-pan
achieve
national
and
global
success?”

Copeland
- “We
think of
nothing
less
than
global
success
for all
products
emanating
from the
Steelpan
Initiatives
Project. There is
no other
option. This
holds
for both
the
G-pan
and its
sibling,
the
Percussive
Harmonic
Instrument
(PHI),
the
world’s
first
electronic
pan.
(See
above,
and
below.)”

Closure -
The Big
PictureFunding for
the Steelpan
Initiatives
Project has
come just in
time for us
to address
the lack of
adequate
consideration
of the
steelpan
industry
over the
years. It is
hoped,
however,
that the
project is
seen not
just as one
that, at
long last,
targets the
development
of the local
steelpan
industry - but
one that
marks a
change in
Trinidad and
Tobago
culture to
one that
more
significantly
includes
technical
innovation,
a culture
change that
many opine
is
absolutely
necessary
for the long
term
survival of
Trinidad and
Tobago and
for
developing
nations
generally. What
better
platform to
launch a new
national
revolution
than the
steelpan?

G-Pan
manufacture. At
present
welding
is
done
manually
but
a mechanised
process
is
planned
for
the
next
phase. An
immediate
by
product
of
the
country
is
now
in a
position
to
manufacture
high
quality
drums
for
the
local
industry.

A
completed
G-Pan
drum
is
shown
next
to
the
conventional
drums
at
left.
The
finished
product
is
either
chromed,
nickel-plated
or
powder
coated.

NSSO G-Pans
at the
launch of
the Steelpan
Museum, Port
of Spain

Derron
Ellies of
Panadigm
Innovations
Limited
solos with,
Rhapsody in
Steel
as
band members
look on at
the 2010 Steelpan
Panorama
Semi-finals
(Northern
Greens)

An outside
view of the
Rhapsody
Steel
Orchestra
wagon on
Carnival
Tuesday
2010. The lone
PHI
(extreme
right) was
used to play
6-bass. Rhapsody
brings out a
sailor band
every year.

Skiffle
Bunch at
Monday Night
mas in San
Fernando.
G-6Basses
are on the
right of
the rack.
Traditional
6 basses are
to the left.